Word: dusting
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...darkness, with a young mother sitting near a baby's cradle, reading aloud to an older woman by candlelight; and Van Gogh's 1885 The Potato Eaters, his first major figure painting, so dark that its five peasants, seated at a table beneath a gaslight, seem covered in coal dust. That palette of gray, black and bottle-green marked Van Gogh's somber style ("Painting peasants is a serious business," he observed) until he moved to Paris at the beginning of 1886 and, as the show's curators note, "underwent one of the greatest transformations in the history...
Mailer’s experiences may also justify the prophetic authority he claims at the book’s end. The dust-jacket has a red, white and blue color scheme, and after a history of literature’s decline and fall in America—culminating in the judgment that with Camp’s advent, “literature had then failed”—he writes, “Nothing less than a fresh vision of the ongoing and conceivably climactic war between God and the Devil can slake our moral thirst now that...
Such questions have plagued me ever since budgetary concerns exiled me from the glossy, dust-jacket-rich world of new books, and seem especially pressing as shelves of used books line the Coop at the beginning of a new semester. New books had always seemed to me a means of communion with the author and his ideas; used books transform that communion into a conference call...
CATCH ME IF YOU CAN. Steven Spielberg takes a breather from sci-fi/adventure romps and historical morality plays to dust off his moribund ‘lost boy’ conceit, reigniting it to power this breezy, rambling 1960s-set caper. Leonardo DiCaprio spends the movie perpetrating a richly entertaining string of identity cons and check fraud that Spielberg tempers with rather obvious meditations on the state of the nuclear family. Amidst the mischief and philosophizing, Tom Hanks, as the dry, wry FBI man tailing DiCaprio, ends up stealing the movie by internalizing his ‘decent everyman?...
CATCH ME IF YOU CAN. Steven Spielberg takes a breather from sci-fi/adventure romps and historical morality plays to dust off his moribund ‘lost boy’ conceit, reigniting it to power this breezy, rambling 1960s-set caper. Leonardo DiCaprio spends the movie perpetrating a richly entertaining string of identity cons and check fraud that Spielberg tempers with rather obvious meditations on the state of the nuclear family. Amidst the mischief and philosophizing, Tom Hanks, as the dry, wry FBI man tailing DiCaprio, ends up stealing the movie by internalizing his ‘decent everyman?...